Grippingly atmospheric romantic tale set in turn-of-the-last-century Vienna about a mysterious stage magician (Edward Norton) who loves a noblewoman (Jessica Biel) unwillingly betrothed to the crown prince (Rufus Sewell) who demands the chief inspector (Paul Giamatti) prove the magician a fraud. Writer-director Neil Burger's sepia-toned adaptation of Steven Millhauser's short story, with a haunting score by Philip Glass and excellent performances, brilliantly captures the period, and beneath the compelling story, such themes as popular superstition, the rise of scientific thought and the decline of the aristocracy are unobtrusively woven. A brief sexual encounter with suggested nudity, some domestic violence, a suicide and a few crass expressions. A-III -- adults. (PG-13) 2006

Full Review

Does he or doesn't he have fantastic powers? Until the very end of the film, you're never quite sure about Eisenheim, the mysterious magician who holds the Viennese public of a century ago in thrall. "The Illusionist" (Yari Film Group) is a grippingly atmospheric romantic tale about that performer, played by Edward Norton, who loves Sophie, a noblewoman (Jessica Biel). She is unwillingly betrothed to Crown Prince Leopold (Rufus Sewell), who demands that Chief Inspector Uhl (Paul Giamatti) -- a decent man, but anxious for advancement -- prove the magician a fraud. Adapted from a short story by Pulitzer Prize-winner Steven Millhauser, the film begins with Eisenheim's arrest by Uhl, who reports back to Leopold that he has carried out his wish. (Leopold is plotting to overthrow his father, the emperor, whose longevity irks the ambitious son.) Thereafter, the story unfolds in flashback. Years earlier, Eisenheim, a lower-class boy, had fallen in love with young Sophie, who was well above his station. Their attempt to run off together was foiled, and they would not see each other again till years later. Now grown, Eisenheim is displaying wondrous feats in a local theater, and Uhl is stunned by some of his illusions, which include making an orange tree grow on stage. Later, Leopold himself attends with Sophie, and the prince volunteers her for one of Eisenheim's feats. When she is hypnotized on stage, they silently recognize each other from childhood. The rational -- if mentally unbalanced -- Leopold has little tolerance for false beliefs, and even before he realizes Eisenheim is his rival, resents the latter's hold over a gullible public. Thereafter, on Leopold's bidding, Uhl hounds Eisenheim like a benign Javert (from "Les Miserables"). Leopold (who, we also learn, is abusive to women) hopes to marry Sophie for strategic ends, but she and Eisenheim again plan an escape. We won't spoil the plot, with its several Hitchcockian turns, but suffice it to say, things go awry, and writer-director Neil Burger lets the compelling tale unfold beautifully. There's a haunting score by Philip Glass, and Dick Pope's gaslit, sepia-toned cinematography is exquisite. Themes of superstition's hold on the public, the rise of scientific thought, and the decline of the aristocracy are unobtrusively woven throughout. Norton is ideal as Eisenheim, radiating the serene confidence of some inner power; Biel projects real patrician grace; and Sewell expertly etches Leopold as a genuine rationalist beneath the madness, while the amazing Giamatti, in a stunning change of pace, impresses as an aggressive but sympathetic pursuer. The shots of audience reaction are unusually convincing, as they watch with awe as the laws of nature seem to be turned on their ear. The magic tricks are wondrously recreated. This is cinematic storytelling at its best. This film contains a brief sexual encounter with suggested nudity, some domestic violence, a suicide and a few crass expressions. The USCCB Office for Film & Broadcasting classification is A-III -- adults. The Motion Picture Association of America rating is PG-13 -- parents strongly cautioned. Some material may be inappropriate for children under 13.

Movies have been evaluated by the U.S. Conference of Catholic Bishop's Office for Film and Broadcasting according to artistic merit and moral suitability. The reviews include the USCCB rating, the Motion Picture Association of America rating, and a brief synopsis of the movie.

The classifications are as follows:

• A-I -- general patronage;
• A-II -- adults and adolescents;
• A-III -- adults;
• A-IV**
• L -- limited adult audience, films whose problematic content many adults would find troubling. L replaces the previous classification, A-IV.
• O -- morally offensive.
  

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